Just when we all thought that Philippine cinema is such in a doldrums, spewing mediocre if not atrocious movies one after the other, this international recognition has single-handedly brought our filmmakers to the world map. Perhaps, as I would greatly hope so, this tribute to the Filipino’s once vaunted ingenuity in filmmaking should put new vigor into our movie industry, inspiring local producers to invest more on quality films, rather than the irreverent dosage of cheesy love stories and hackneyed fantasy films that they have been feeding the local moviegoers in recent years.
The state of Philippine cinema today is such in a horrendous state. I remember a time when each year, at least one notable production would be in the offing, finely crafted and aimed to educate and enlighten aside from being delightfully entertaining. I remember a time that even teen movies were created so artfully that aside from gaining hordes of profit from adulating young fans, they also become socially relevant for the message they had conveyed. For example, the film “Bagets” was one movie that could easily be said to have been aimed at attracting young moviegoers as it starred several young and highly popular moviestars at the peak of their careers. And despite that it appeared to be a teeny-bopper of a movie, it was intelligently crafted, especially the script which was reflective of the social problems involving the youth at that time like family alienation and lack of direction in life.
Years ago, local movies are so full of memorable scenes and dialogues, even if they were love stories. For example, who could forget that line when Gabby Concepcion had relayed to Sharon Cuneta that she was his “number one”, and Ms. Cuneta answered, “Ayoko ng “number one’, kasi merong “number two” at saka me “number three”.
But nowadays, local filmmakers churn out almost all the time shallow and mind-numbing love stories and I bet we are all so full of them that we could not take them no more. It’s perplexing for example how every local movie released nowadays are so singular in theme and premise, about some lovers traipsing and running around sand beaches, about how some girl was such in a miserable state of being and some hunky-dory rich handsome guy would suddenly appear in her life, usually in a limousine with a bunch of roses and chocolates in hand, ready to become her hero and savior and would finally take her away out of her miserable life. I mean, gosh, haven’t we all got fed up with these kind of saccharine stuff? Does that really happen in real life? I’ve never seen one from our neighborhood if you ask me.
Fortunately, “Himala” is one bright light for Philippine cinema, a flicker of hope, a light to be followed. I’ve actually seen this Nora Aunor-starrer for about three to five times already, except that, I could not seem to remember the details even if I’ve seen it so many times before. It’s like a mystery to me. Perhaps, there’s an advantage in that as it would always be like the first time whenever I decide to view it again. I have the same feeling whenever I watched “Casablanca” where despite that I’ve like the polished black and white production with the guy named Sam in it, I almost always forget the details of the story, like I thought Humphrey Bogart was always going from place to place looking for Ingrid Bergman, and never really had found her, that I felt like if he was alive today, he would still be looking for her, like a mad man. It felt that way, even though websites about the movie actually tells a story different from what I thought it was.
“Himala”, according to some details I remember about the movie (to which I’ve seen the last time about a year ago as a lunch movie treat from a local television channel), is a very powerful and well-made movie, with the script so tightly knitted that it stands unparalleled at that. The shots by Director Bernal were magnificently done, using spans that are so reminiscent of the filmmaking techniques often utilized by the great Japanese director Akira Kurosawa.
Nora Aunor’s acting is the highlight of the movie and without it “Himala” would have been entirely mediocre and insignificant.
Truth to be told, if I am to judge the greatest Filipino movie of all time, “Himala” would have not been at the top of my list. It would have been Peque Gallaga’s “Oro Plata Mata”, a sprawling period saga that was outstanding in its production that seeing it for the first time was such a blast. It was almost a perfect movie for me—- good script, fine production and glanderous climactic end.
But “Himala” was the chosen one and even noted now as not only best here in our country, but also in the entire Asian sphere, and noted by none other than the very creditable CNN. Maybe I should agree with the choice.
No comments:
Post a Comment